A dark grim yet gritty movie is probably the best way to describe this fairly forgotten and under appreciated jewel of a western. Produced by Nicholas Nayfack for MGM in 1950 the picture - just like "Winchester 73" and "The Gunfighter" made the same year - marked the coming of age of the American western. DEVIL'S DOORWAY was the first movie which undertook to depict - in graphic terms - the plight of the native American in the west of the 1860s. It was also the first western to be directed by Anthony Mann who alongside John Ford would become the genre's most iconic director with his masterpiece "Winchester 73" and thereafter with his fruitful working relationship with actor James Stewart that would produce some of the finest westerns ever made like "Bend Of The River", "The Far Country" and the brilliant "Naked Spur". Nicely written for the screen by Guy Trosperm DEVIL'S DOORWAY was stunningly photographed in glorious Black & White in Aspen, Colorado by John Alton and was complimented with a splendid atmospheric score - featuring an exciting Indian motif - by Russian composer Daniele Amfitheathrof.
With the Congressional Medal of Honour pinned to his Union tunic distinguished Shoshone Indian Sergeant Major Lance Poole (Robert Taylor) returns home from the war between the States to his people in his beautiful valley of Sweet Meadow. He is greeted by his aged and ailing father (Fritz Leiber) ("You are home - you are again an Indian"). But prejudice against the tribe is beginning to take hold in the nearby town instigated and then exacerbated by a shady Indian hating lawyer Verne Coolin (Louis Calhern). Things really come to a head when sheep-men arrive and need to graze their herds on Sweet Meadow but Lance will not allow it and orders them off his property ("This is my land and you're trespassing"). However they are encouraged by Coolin to take the land since the Homestead Act of the period states that it is forbidden for an Indian to own any land. An enraged Lance takes up arms and leads his people against the interlopers (a well executed battle scene). Finally with many deaths on each side the army are sent for to quell the fighting which leads to a tragic finale. Lance settles his score with Coolin before the final shootout with the army which sees him and his braves being killed, his village destroyed and the tribe - what's left of them - being escorted to the reservation.
DEVIL'S DOORWAY is a superb western and deserves to be rediscovered. With Mann's earlier noir successes "T Men" (1947) and "Raw Deal" ('48) DEVIL'S DOORWAY contains wonderful noirish moments of outstanding quality such as in the bruising fist fight sequence in the Saloon between Taylor and gunman James Milican with its low angle camera and arresting use of light and shadow and again later for scenes inside the dimly lit Indian shacks. The acting throughout is splendid all round. Taylor arguably gives the performance of his long career in an unusual bit of casting. Eschewing his handsome MGM glamour-boy image (he was Gable's chief rival at the studio) he turns in a powerful and striking portrayal of great depth and substance. His performance as a man who sees his beloved valley being ripped out from under him and his people is heartfelt and sincere. Excellent too is Louis Calhern as the antagonistic racist lawyer. His part not being very far removed from his brilliant shady lawyer in the studio's "Asphalt Jungle" the same year.
So here is a powerfully evocative and accomplished movie that was strikingly bold for its time and today remains compelling in its stark presentation. Directed by a man who was on the verge of western movie greatness DEVIL'S DOORWAY is a movie that shouldn't be missed by anyone who cares about the American western. It is a movie that with some reassessment and a little more exposure could easily become one of Hollywood's greatest achievements and perhaps even Mann's real masterpiece. A movie that makes the final and prophetic line in the picture that bit more fitting..........
"IT WOULD BE TOO BAD IF WE SHOULD EVER FORGET".
With the Congressional Medal of Honour pinned to his Union tunic distinguished Shoshone Indian Sergeant Major Lance Poole (Robert Taylor) returns home from the war between the States to his people in his beautiful valley of Sweet Meadow. He is greeted by his aged and ailing father (Fritz Leiber) ("You are home - you are again an Indian"). But prejudice against the tribe is beginning to take hold in the nearby town instigated and then exacerbated by a shady Indian hating lawyer Verne Coolin (Louis Calhern). Things really come to a head when sheep-men arrive and need to graze their herds on Sweet Meadow but Lance will not allow it and orders them off his property ("This is my land and you're trespassing"). However they are encouraged by Coolin to take the land since the Homestead Act of the period states that it is forbidden for an Indian to own any land. An enraged Lance takes up arms and leads his people against the interlopers (a well executed battle scene). Finally with many deaths on each side the army are sent for to quell the fighting which leads to a tragic finale. Lance settles his score with Coolin before the final shootout with the army which sees him and his braves being killed, his village destroyed and the tribe - what's left of them - being escorted to the reservation.
DEVIL'S DOORWAY is a superb western and deserves to be rediscovered. With Mann's earlier noir successes "T Men" (1947) and "Raw Deal" ('48) DEVIL'S DOORWAY contains wonderful noirish moments of outstanding quality such as in the bruising fist fight sequence in the Saloon between Taylor and gunman James Milican with its low angle camera and arresting use of light and shadow and again later for scenes inside the dimly lit Indian shacks. The acting throughout is splendid all round. Taylor arguably gives the performance of his long career in an unusual bit of casting. Eschewing his handsome MGM glamour-boy image (he was Gable's chief rival at the studio) he turns in a powerful and striking portrayal of great depth and substance. His performance as a man who sees his beloved valley being ripped out from under him and his people is heartfelt and sincere. Excellent too is Louis Calhern as the antagonistic racist lawyer. His part not being very far removed from his brilliant shady lawyer in the studio's "Asphalt Jungle" the same year.
So here is a powerfully evocative and accomplished movie that was strikingly bold for its time and today remains compelling in its stark presentation. Directed by a man who was on the verge of western movie greatness DEVIL'S DOORWAY is a movie that shouldn't be missed by anyone who cares about the American western. It is a movie that with some reassessment and a little more exposure could easily become one of Hollywood's greatest achievements and perhaps even Mann's real masterpiece. A movie that makes the final and prophetic line in the picture that bit more fitting..........
"IT WOULD BE TOO BAD IF WE SHOULD EVER FORGET".